Reflection on my practice - Trim Three
Title
Introduction Current Practice (resource: here you can use the descriptions of recent work)
Here are some keywords / brainstorming of ideas I've been through: body language - performance - articulation - movement - sequences - patterns - choreography - structures - diagrams - grids - systems - codes - algorithm - hypertext - gramathology - visual statements - construction of narratives - communication - visualization of information - experience - perception - . speech and body.
Transmission: : the act or process by which something is spread or passed from one person or thing to another. an act, process, or instance of transmitting.
Communication : an act or instance of transmitting. the ways of sending information to people by using technology. the act or process of using words, sounds, signs, or behaviors to express or exchange information or to express your ideas, thoughts, feelings, etc., to someone else.
from: www.merriam-webster.com/dictionary _
Relation to previous practice
How does your current work connect to previous projects you have done? (resource: here you can use a) the descriptions of older work b) extracts from your interview.)
Graphic design, layout and compostion. TRhe display of information, interfaces. White space should not be considered merely 'blank' space — it is an important element of design which enables the objects in it to exist at all; TWO DIMENSIONAL >>>> THREE DIMENSIONAL SPACE
Relation to a larger context
“For Massumi, affect is precisely a matter of how intensities come together, move each other, and tranform and translate under and beyond meaning, semantics and fixed systems, cognitions. Part of the assumpstion here is that, even in the most reactionay circumstances, nothing happens if affective intensity has not already paid us a visit. This refines our understanding of why territory - spatial and temporal - is always “existential territory“. It has as much a territorry that enables movement as something that keeps everything in its place, it is movement itself.” Reading / Feeling - If I Can’t Dance Archives.
Brian Massumi, on the dimensions of visual experience, from the chapter The Brightness Confound - of the book "Parables of the Virtual: Movement, Affect, Sensation".
William Forsythe: choreographic objects essay http://www.ubu.com/dance/index.html http://sarma.be
Research strands
This essay aims to summarize my recent readings and further notations for my self-directed research.
As to better support my recent projects and deepen my knowledge on my interest towards choreography and performance; I found relevant to research on sense experience and how knowledge is achieved by the interrelation between brain - body - world. One of my references being Alva Noë, one of the theorists that inspired the EEC programme - Embodied Embedded Cognition.
Noë investigates the structures of experience and consciousness (what philosophers call phenomenology); Presenting experience as the "basis of accessibility", allowing humans into "achieving access to the environment".
In an interview with Marlon Barrios Solano, part of the Embodied Techne Series (2012), Noë discusses "Dance As A Way Of Knowing".
He explores the idea that human consciousness is something we enact or achieve, in motion, as a way of being part of a larger process. Motion as "sensory motor understanding is what brings the world into focus for consciousness."
Noë highlights the fact that motion relies on a "temporally extended involvement", which enhances sensorial perception and consequently produces sensorial change: "transformations that happens in you while you go across the process; what is that transformation? Is understanding, is seeing connections, is knowing your way around."
Dance as a way to enact experience, thinking in motion - "dance in a sense of performance is an enactment or modeling of this fundamental fact about the world around us, which we dynamically interact with.".
In dance, along with similar kinesthetic experiences, the human body reaches an intense sensorial perceptual experience, composed of information from many places in the body, finding the need to have an understanding of/ control over of sensory consequences of their own movement. It can be seen either as personal, depending on the case- collective, confrontation - creating great awareness.
both avant-garde and deeply traditional
In the near future I would like to better understand how to structure databases in different ways and explore compositional innovations that could come along with it. Looking at the past and future in the present moment. I believe that not only imagery, but other forms of content, such as sound and written text could enhance and generate better understanding of this kind of experiments. As in different choreography databases, in which different language systems are integrated in scores.
Lev Manovich, Database as a Symbolic Form
> From the meeting with Simon / explore the archival history of dance. Cultural perspective. Eg. as in Music:
http://www.ubu.com/ethno/discourses.html
"ethnoaesthetic concerns in the visual and performative arts with their well-documented influence on the form and content of contemporary art both in the West and in third-world cultures under European domination. In turn, the growing restiveness of the Western avant-garde allowed a contemporary viewing of culturally distant forms that revealed both those that resembled familiar Western forms and others drawn from previously unrecognized areas of visual and verbal art."
http://firstmonday.org/ojs/index.php/fm/issue/view/427/showToc
WRITING IN THE IMAGINATION OF AN ORAL POET, by Henry Munn http://www.ubu.com/ethno/discourses/munn.html
ENDANGERED LANGUAGES, ENDANGERED POETRIES by Jerome Rothenberg, with an article Digital race to save languages, By Andy Webster http://www.ubu.com/ethno/discourses/rothenberg_endangered.html
> From the meeting with Femke:
Find where do design and dance collide?
http://apass.be/artistic-reseach-center/archive/ http://www.booksonthemove.eu/en/shop/books/english-books/
Conclusion